金順任 KIM Soonim

金順任的創作頗能與上個世紀 60、70 年代的地景藝術、大地藝術，以及後來日漸成

熟的環境藝術發展脈絡相互連結。她的藝術擁有一種謙遜的姿態，總是採取極其輕微

而適度的介入方式來面對空間與自然環境。例如在岩石上反覆打磨的行為、或者對水

池底部進行清理、打撈的行動，皆是一種「減法」的操作邏輯，而非任意變造、扭曲

外在事物的「加法」邏輯。這樣的創作實踐，頗能令人聯想到英國大地藝術 家

Richard Long 的自然美學倡議。不過金順任有她自己對於拾得物（found object）與

空間裝置形式的一套獨特想法。工作室裡所置放的剩餘蔬果、收集而來的枝葉，以及

若干素描草圖，一方面是對自然事物的感性擷取，但另一方面也是她對自己生命軌跡

的紀錄，以及對於「人與物之相互關係」的當代思考。台灣不少優異的原住民藝術家

也有類似的創作態度，例如知名的拉黑子‧達立夫，不知金順任於駐村期間是否有機會

造訪台灣東部，或者其實早已熟識部分原民藝術家？若是能以聯合工作坊、座談或其

他形式展開交流，應會產生相當有意思的創作火花。

The works of Kim Soonim is tightly connected with the developmental context of Land Art, Earth Art, and the maturing of Environmental Art in the 60s and 70s. Kim’s artworks express a sense of humility that constantly confronts topics in space and the natural environment with gentle and adequate approaches. For instance, the artist’s method of repeatedly polishing rocks, cleaning the bottom of water pools, and acts of salvaging, all originate from the philosophy of “subtraction” rather than the arbitrarily distorting and altering methods of “addition.” This creative method reminds viewers of British land artist Richard Long’s aesthetic of natural materials. However, Kim has a unique view of found objects and spatial installations. The leftover vegetables and fruits, the collection of twigs and leaves, various pieces of sketches, are not only inspirations drawn from nature but also documentations of the artist’s life and her thoughts on the connections between natural objects and human sentiments.